Fair Mosh is found in magic (chains of the 5th harmonic). It occupies the spectrum from 10edo (L=s) to 3edo (s=0).
This MOS can represent tempered-flat chains of the 13th harmonic, which approximates phi (~833 cents). In the region of the spectrum around 23 edo (L=3 s=2) , the 17th and 21st harmonics are tempered toward most accurately, which together are a stable harmony. This is the major chord of the modi sephiratorum. Temperament using phi directly approximates the higher Fibonacci harmonics best.
If L=s, ie. multiples of 10edo, the 13th harmonic becomes nearly perfect. 121 edo seems to be the first to 'accurately' represent the comma (which might as well be represented accurately as it's quite small). Towards the other end, where the large and small steps are more contrasted, the comma 65/64 is liable to be tempered out, equating 5/4 and 13/8. In this category fall 13edo, 16edo, 19edo, 22edo, 29edo, and so on. This ends at s=0 which gives multiples of 3edo.
Harmonically, the arrangement forming a chord (degrees 0, 1, 4, 7, 10) is symmetrical - not ascending but rather descending, and so reminiscent of ancient Greek practice. These scales, and their truncated heptatonic forms referenced below, are strikingly linear in several ways and so seem suited to a similar outlook as traditional western music (modality, baroque tonality, classical tonality, etc. progressing to today) but with higher harmonics. For more details http://ia600706.us.archive.org/23/items/TractatumDeModiSephiratorum/ModiSephiratorum.pdf
(I know it should be "tractatus", changing it is just a bother)
There are MODMOS as well, but I haven't explored them yet. There's enough undiscovered harmonic resources already in these to last me a while! Taking this approach to the 13th harmonic also yields heptatonic MOS with similar properties: 4s+3L "mish" in the form of modes of ssLsLsL "led".
(ascending)
s s s L s s L s s L - Mode Keter
s s L s s L s s L s - Chesed
s L s s L s s L s s - Netzach
L s s L s s L s s s - Malkuth
s s L s s L s s s L - Binah
s L s s L s s s L s - Tiferet
L s s L s s s L s s - Yesod
s s L s s s L s s L - Chokmah
s L s s s L s s L s - Gevurah
L s s s L s s L s s - Hod
--
Generator
Cents
L
s
Comments
3\10
360
120
120
28\93
361.290
129.032
116.129
25\83
361.446
130.1205
115.663
22\73
361.644
131.507
115.0685
19\63
361.905
133.333
114.286
16\53
362.264
135.849
113.2075
13\43
362.791
139.535
111.628
10\33
363.636
145.455
109.091
7\23
365.217
156.522
104.348
365.848
160.937
102.456
18\59
366.102
162.712
104.29
47\154
366.234
163.636
101.299
123\403
366.253
163.771
101.241
322\1055
366.256
163.791
101.232
521\1707
366.257
163.796
101.230
Golden Sephiroth
199\652
366.258
163.804
101.227
76\249
366.265
163.855
101.205
29\95
366.316
164.2105
101.053
11\36
366.667
166.667
100
367.203
170.419
98.392
15\49
367.347
171.429
97.959
4\13
369.231
184.615
92.308
Boundary of propriety
(smaller generators are proper)
3L+7s "Fair Mosh" (Modi Sephiratorum)
Fair Mosh is found in magic (chains of the 5th harmonic). It occupies the spectrum from 10edo (L=s) to 3edo (s=0).This MOS can represent tempered-flat chains of the 13th harmonic, which approximates phi (~833 cents). In the region of the spectrum around 23 edo (L=3 s=2) , the 17th and 21st harmonics are tempered toward most accurately, which together are a stable harmony. This is the major chord of the modi sephiratorum. Temperament using phi directly approximates the higher Fibonacci harmonics best.
If L=s, ie. multiples of 10edo, the 13th harmonic becomes nearly perfect. 121 edo seems to be the first to 'accurately' represent the comma (which might as well be represented accurately as it's quite small). Towards the other end, where the large and small steps are more contrasted, the comma 65/64 is liable to be tempered out, equating 5/4 and 13/8. In this category fall 13edo, 16edo, 19edo, 22edo, 29edo, and so on. This ends at s=0 which gives multiples of 3edo.
Harmonically, the arrangement forming a chord (degrees 0, 1, 4, 7, 10) is symmetrical - not ascending but rather descending, and so reminiscent of ancient Greek practice. These scales, and their truncated heptatonic forms referenced below, are strikingly linear in several ways and so seem suited to a similar outlook as traditional western music (modality, baroque tonality, classical tonality, etc. progressing to today) but with higher harmonics. For more details http://ia600706.us.archive.org/23/items/TractatumDeModiSephiratorum/ModiSephiratorum.pdf
(I know it should be "tractatus", changing it is just a bother)
There are MODMOS as well, but I haven't explored them yet. There's enough undiscovered harmonic resources already in these to last me a while! Taking this approach to the 13th harmonic also yields heptatonic MOS with similar properties: 4s+3L "mish" in the form of modes of ssLsLsL "led".
(ascending)
s s s L s s L s s L - Mode Keter
s s L s s L s s L s - Chesed
s L s s L s s L s s - Netzach
L s s L s s L s s s - Malkuth
s s L s s L s s s L - Binah
s L s s L s s s L s - Tiferet
L s s L s s s L s s - Yesod
s s L s s s L s s L - Chokmah
s L s s s L s s L s - Gevurah
L s s s L s s L s s - Hod
--
(smaller generators are proper)
L=1 s=1 10edo
L=2 s=1 13edo
(L=3 s=1 16edo)
L=3 s=2 23edo
(L=4 s=1 19edo)
L=4 s=3 33edo
(L=5 s=1 22edo)
(L=5 s=2 29edo)
L=5 s=3 36edo
L=5 s=4 43edo
(L=6 s=1 25edo)
L=6 s=5 53edo
L=7 s=6 63edo
L=7 s=5 56edo
L=7 s=4 49edo
etc.